Our in depth guide to interior colour for professionals.
INTERIOR Colour book
“Colour is a collaboration ofmind and theworld.” Paul Cezanne
01 Colour Psychology p08
02 Colour Journeys p12
INTRO: Holistic Design p04
06 Inclusive Colour p00
07 Colour Application p00 08 Light & Lighting p136
03 Colour Scheming p42
04 Design by Function p52
05 Inclusive Colour p78
This Interior Colour Book can be used as a tool for understanding colour in the interior environment. It is part educational, part visual and explores themany aspects of colour.
This book has been designed to cover a wide range of topics, including Inclusive Colour, Colour Psychology and Paint Application to be enjoyed in its entirety or for individual sections to be explored in greater detail. Colour is vital to humans and essential inmany industries. It plays a huge part in interiors and canmake or break a successful design. For millions of years colour has been used in nature and by humans to communicate; often to warn or to attract attention. Since ancient times civilisations have gone to incredible lengths to learn, understand and recreate colour. There have beenmany developments to categorise and capture colour. Knowledge of colour is still growing and will continue to do so and we hope to share a small part of it in this Interior Colour Book.
06 Colour Application p112
07 Trends & Influences p124
09 Social Corporate Responsibility p152
10 Specification &Colour Service p158
11 Product Range p162
Bibliography & Acknowledgements p168
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INTRO
“HolisticDesign is the sumof all parts.” Richard Mazuch, Director of Research & Innovation, IBI Group
Our health and well-being is hugely important. Mindfulness andmeditation apps have increased drastically and are forecast to triple in the next ten years.
We aspire to a healthy lifestyle. Awareness is growing over the food we eat, the exercise we do and the state of our mental health. Neuroscientists and architects collaborate and are building a greater understanding of how the immediate environment impacts on our health and well- being. Themore we understand, themore we can ensure the buildings we use enhance our well being and are not detrimental to it. being may involve additional costs at the outset or take longer in the planning stages but the end result of good design should reduce energy consumption, create a space that is comfortable, inspiring, flexible and meets the necessary requirements to fulfil a task. A building that supports health and well-being can reduce sick leave and encourage positive thinking. We all want to spend time in a space that canmeet our variable needs and requirements and is welcoming, Our environment matters Designing environments that harmonise our health and well-
inspires learning, enables focus, promotes social interaction and also provides a place to escape to. Certain environments may have prior requirements and safety controls such as a science lab or a factory, however most places benefit from a holistic design process. Daylight, nature, space, stimulation, fresh clean air are all good positive happy hormone inducing factors. On the other hand, overcrowding, heavily urbanised landscapes, monotony, loud noises and lack of light can increase cortisol hormone levels and stress. Thermal control, access to daylight, air ventilation and a reasonable noise level are things we consider basic requirements, but we feel can feel uncomfortable if any one of these is not harmoniously balanced. Stale air canmake us feel sluggish, increase the risk of germs and fester unpleasant odours. Feeling one extreme of temperature either too hot or too cold can be a cause of discomfort.
Colour and coloured light can distort our perception of heat up to 3 or 4 degrees celsius. Colours at the warm end of the spectrummake us feel warmwhereas colours at the cool end of the spectrumcanmake us feel cool. If we are denied access to daylight we become disconnected from time. Shopping centres and casinos are classic examples where we become disconnected from reality. Windows are the gateways to the outdoors, they allow daylight to enter the building and offer a view of the outside world. Studies have shown that we are linked to the natural cycle of daylight. The circadian clock controls our hormone levels and when not in sync due to little or no access to natural light our bodies become out of kilter and aremore susceptible to illness. SAD, Seasonal Affected Disorder is a common occurrence in winter. People have reduced energy levels and can feel symptoms of depression, when they do not have a lot of exposure to sunlight.
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INTRO (CONT) .
Thermal control, access to daylight, air ventilation and a reasonable noise level are things we consider basic requirements and we can feel uncomfortable
The “wow factor” can stimulate our senses and fill us with a sense of joy and wonder. The senses are unique to every person andmultisensory design can enable those with a sensory impairment to create a dialogue within a space. We need a place to be functional but we can sometimes forget to add beauty for the sake of adding beauty.
Research has shown that those who had spent time outdoors in nature felt the positive benefits up to seven hours later. Visibility of nature is hugely beneficial in our interiors. Homo sapiens lived in caves and we were highly connected to the outdoors. Our senses were directly responsive to the climate, daylight cycle and seasons. Likemany mammals we havemore energy in the summer, we stay up later and sleep less than in winter. In winter, there are not as many hours of sunlight, it is harder to get out of a warmcosy bed on a cold dark morning because of some deep instinct to hibernate. Our lifestyles todaymean we spend 90% of our time indoors, in buildings designed to shut out the natural elements. While it is essential to be sheltered from the harsh weather - elements of frost, rain and wind -
we also lose a vital restorative connection to health giving elements such as vitamin D from the sun and relaxation fromnature. Industrial sites and urban locations may not always offer a pretty view but nature can be brought directly into a building through plants, and indirectly through daylight, fresh air ventilation, natural finishes such as wood, and water features. Images of nature can be helpful but living nature has a stronger impact than substitutes. A study (Ellard 2015) found stress levels increased when participants walked past boring building facades. We are emotional creatures and love to embrace design that tantalises the senses. Tactile fabrics, decorative lighting, enticing smells, aesthetic colour schemes all interplay with our memory and create amultisensory experience.
if any one of these are not harmoniously balanced.
“Wehopethisbookcanbe your guidetocreating the wowfactor inyour interior..” Jemma Saunders, Crown Colour Specialist
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01. COLOUR PSYCHOLOGY
Factors such as lighting, furnishings, materials and finishes contribute towards the ambience of a space.
It is useful to have an awareness of colour psychology when planning colour schemes but a balanced cohesive and aesthetic palette should be the decisive factor. It is quite easy to propose calming blue or green tones in a waiting roombut this could result in a uninspiring space. Colour psychology explores the impact colour has on human behaviour, and while this remains an area where there is somuch more to learn, continuous research is developing our knowledge and understanding of colour psychology. Every individual responds to colour and its effects uniquely, and so preferences and responses can not always be generalised. Culture, language andmemories all contribute towards the impact colour has on our behaviour.
There have beenmany studies but these are either very specific or very general. Colour referencing systems are not consistent and so there remains much debate surrounding the psychological and physical effects of colour. Colour crosses the boundaries of different fields of enquiry. Physicists focus on frequencies and particles, chemists inmolecular structures, neuroscientists look at brain signals, and opticians and physiologists look at how the eye sees, artists on the other hand use colour instinctively. Colour is a subjectivematter, most people will have an opinion on colour and onmany occasions there is neither a right nor a wrong answer. There are three basic properties of colour; hue, saturation and lightness, and any variation of these will impact on how a colour is perceived.
A lightened version of red becomes pink. A roompainted pink will have a different impact fromone that is paintedmaroon. A navy blue is dark and will create a different energy in comparison to a roompainted a pale sky blue. Vibrant shades tend to be best suited to a contemporary environment although (as always with colour) there will be exceptions. Lighter tones are less demanding and generally calmer whereas vibrant colours are highly energetic and are higher in intensity. Under- stimulation can result in restlessness and irritability whereas over stimulation can result in discomfort and increased muscle tension.
When we decorate interiors it would be insightful to determine the psychological impact of a particular colour but it is not always so straightfoward. There are many factors that can influence how we feel and experience colour.
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COLOUR PSYCHOLOGY (CONT) .
Association Sporting teamcolours have a very conscious influence on colour. Proposed colour schemes have been rejected because they included a colour that resembled a rival football team’s colours. Colour is seen to symbolise loyalty and teamspirit. Language There has long been a debate on the significance of language and its relation to seeing colour. Some believe that basic colour categories are universal and rooted and if we do not posses a word for a colour it alters our perception of it. Others believe that there are no set categories of colour and definitions of colour can follow different patterns. WilliamGladstone former British PrimeMinister, assumed the Ancient Greeks were colour blind, instead of considering that colour organisation may have simply fallen into different categories than the seven colours Newton highlighted; red, orange, yellow, green, blue, indigo and violet. In the English language blue is used for many areas that are subject to change depending on weather conditions,such as the sea or the sky. TheGreeks used categories of luminance; dark, shining and radiant to describe colour. Using blue for the sea and sky (which are variable) is an abstract concept andwhile theGreeks could see colours, they had no reason for the word blue. Colour Names There are very fewdefinitive names of colours, instead descriptive terms are
frequently used to determine a colour. It is difficult to own a paint colour, but a name can be trademarked. A name is created to tell the story of a colour and evoke positivememories or associations. In one instance a name of a paint colour had the opposite effect, Dewberry Frost, a pale lilac paint did not sell well at all because it conjured images of frost andwas thought to be cold. The colour was renamed and it soldmuch better. While it is difficult to own a colour, as always there have been exceptions. Yves Klein blue, Vanguard Black and Amish Kapoor Pink are all patened colour recipes. Society Historically, colours came to take on meanings laws were created to restrict the use of specific colours in fashion and furnishings. Only royalty could use certain colours, while peasants were limited to colours that reflected their social status. Inmany cases dyes were so expensive only the very rich could afford themanyway. Ancient Greeks, Romans andChinese restricted use and even imposed strict punishment if a citizenwore a colour outside of their status. Today, we still hold associations regarding certain colours and royalty. Trends Fashion and trends influence our behaviour towards colour, they can dictate our colour preferences both consciously and not so consciously. As trends and popularity of colours progress and change over time, so will our attitudes towards colours and colour combinations. Preferences can be cyclical and constantly evolve. Colour trends in fashion turn aroundmuch faster than
in home or interior trends which tend to embrace trends gradually. In interiors greys are currently a popular colour choicewhereas previouslymagnolia has been the most popular neutral colour. Individuality Each individual will respond to colour in their own unique way. Age, personality and character can influence our perception of colour, as can the biological process that enables us to see. We all process data differently fromone another. The brain is highly complex andwe also rely onmemory and past experience to identify objects. Colour can evokememories and in turn these can cause us to like or dislike a certain colour and dictate our responses towards it. Some studies suggest people with depressive tendencies are better suited to colours from the warmend of spectrum, whereas people with anxious tendencies, such as high blood pressure, benefit fromcooler tones.
Physiological When we see colour we rely on the optical system to sendmessages to the brain, however the eye also has a non visual pathway. Light sensitive photoreceptor cells are linked to our inner brain and pituitary gland that regulates hormones and organ systems. Every colour has its own wavelength to distinguish it from another, and the energetic frequencies can cause physiological responses when we are exposed to colour. Exposure to the colour red can speed up the heart rate and circulation, increase the pulse and breathing rates, and raise blood pressure, the opposite occurs when we are exposed to blue for a period of time. These sensations can be felt by those who cannot necessarily see colour and are independent of any colour preference or cultural experience with colour. Colour Symbolism Colour has long been associatedwith symbolism, linking colours to nature and the environment. Yellow for the sun, green for nature, red for blood and fire, blue for the sky and sea, and these associations formpart of a sub conscious process when we think about colour. Culture Every culture uses colour tomark occasions and this can differ from country to country.
“If one says “red”- the name of color - and there arefifty people listening, it can be expected that therewill befifty reds in theirminds. And one can be sure that all these reds will bevery different.” Josef Albers (1963)
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Colour in our lives has evolved and changed yet it still remains to be an integral part of society. There has always been a big demand for colour throughout history and the stakes have been high. 02. COLOUR JOURNEYS
Trade wars, secret recipes and gruelling processes under cloak and dagger have increased desire for the latest colour invention.
From as early as the Byzantine period, demand for particular colours has changed depending on what is themost expensive colour on the market at the time in question. Julius Caesar banned anyone other than royalty fromwearing the infamous Tyrian purple. Rulers have continually restricted the use of certain colours, although the working class could not afford anything other than the cheapest. Prized pigments and exotic dyes symbolised wealth and power, King Richard I in 1197 imposed a sumptuary law limiting the lower classes to wearing dull clothing, while nobility adorned their homes in sumptuous hues and swanned around in premium coloured clothing, the equivalent of wearing Channel couture today. Popularity of colours was a result of valuable dyes and natural pigments of the time. The dress of the Virgin
Mary has been portrayed in different colours depending on themost expensive colour available at the time. Mary has been portrayed wearing purple, red and finally ultramarine, the same blue that is now the colour usually associated with one of the most precious religious figures of the Christian faith. and occasionally the root cause of unscrupulous actions. The best red dye was produced by the Aztecs, Incas and Maya using a cochineal insect, (originally documented as beries ), that was dried, crushed and mixed with an alum. It took 150,000 Colour production has been a highly valuedmoney making industry insects tomake one kilogramof dye and so coloured cloth, wall hangings and floor coverings were the preserve of the very wealthy. Spanish Conquistadors were so impressed by the Aztecs’ vibrant red that after acquiring the formula they produced
huge quantities of the dye and at the end of the sixteenth century, exported up to 160 tons a year making it one of themost profititable trades of its time. Any foreigners caught smuggling the cochineal insects from the Spanish Colonies faced the death penalty. The death penalty was also imposed by the French In 1609 against anyone using indigo. In Britain, Woad growers opposed to the import of Indigo, (seeing it as a threat to the home grown blue) petitioned to have indigo classified as poisonous. They succeeded even though it wasn’t. Renaissance artists were limited to certain colours because of the availability or stability of pigments. Hundreds of years later Van Gogh reputedly said ‘ A painter had better start from the colours on his palette than from the colours in nature.’ (Ball 2008).
For technical reasons the colours shown will not exactly match the paint colour and do not represent a particular texture or finish.
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COLOUR JOURNEYS (CONT) .
a bigger impact on the viewer. With the invention of photography however there was no longer a need to capture realistic subject matter, but it took a long time before this new style of art was accepted by society. procedures took over before full scale manufacturers came onto the scene. Techniques have evolved to produce synthetic colour without the need for masses of natural resources. Today there is an abundance of colour on Horse powered paint mills and then eventually steamdriven themarket with innovations that continue to inspire and develop our understanding. Nevertheless, there is growing interest in the oldmethods of colour making as people search for authenticity and rediscover traditional recipes and formulas, ensuring key movements in history are not lost forever.
formulations and advised artists of the time, not that they always heeded his advice. Some new pigments on the market were bright and vibrant but not necessarily stable. Turner pushed the boundaries experimenting with new vivid pigments even though he was warned they would eventually fade. It wasn’t just new pigments that were developing, theories on colour were also growing and this in turn influenced great artists to push the boundaries of painting and colour. JohannWolfgang von Goethe had several careers in his lifetime ranging from lawyer, poet and philisopher. In 1810 he published Theory of Colours. Some critics argued his theories on light weremisguided but he understood colour required human perception for it to be processed and this led him to discover the experience of seeing a colour opposite after time spent staring at an individual colour, ‘for the colours diametrically opposed to each other in this diagramare those which reciprocally evoke each other in the eye. Thus, yellow demands purple; orange, blue; red, green; and vice versâ’. The sensation Goethe refers to is known as the after image effect, and from this Goethe learnt of colour opposites (complementary colours) and arranged colours strategically in a ‘chromatic circle’. Goethe was also the first person to recognise the psychological impact of colours, and although his findings were subjective, his originality opened up a new route of exploration for colour. Michael Chevreul was a French chemist who worked at the
Gobelins Dye Factory in Paris and eventually became director. During his time as director he proceeded to address complaints that the dyes were dull and lack lustre. He realised the dyes were fine but when woven threads were placed next to certain colours they appeared grey. He learnt that the appearance of colours can be highly dependent on the relationship with surrounding colours. Chevreul published his findings, On the Law of Simultaneous Contrast of Colours (1839), and these were circulated Impressionist artists strove to capture nature in themoment and explored the relationship between light and shade and all the colours produced as a result. With the increasing availability of new synthetic pigments in brighter colours (some unstable or not fully tested), and the invention of tube paint, the Impressionists had a new set of tools to play with. in Paris and this became highly influential for the Impressionist art movement. Paint was initially sold in cleaned pigs bladders in concentrated form to be later let down with linseed oil. The Impressionists challenged the art world and the traditional values it upheld. They used colour in a way that had never been used before, a key example being the use of purple to depict shadows. Previously shadows were always shown in either black or brown but the Impressionists wanted maximun impact and what better way than to select purple for shadows, the colour opposite to that of the sun. Using contrasting colours makes them more noticeable and vibrant, and has
“Colours produce a corresponding influence on themind. Experience teaches us that particular colours excite particular states of feeling.” JohannWolfgang von Goethe (1810)
The brightest colours available were ultramarine blue and variations of red; cochineal and vermillon. The rest of the pigments were quiet and subdued, and this gave the art from this period a stylistic quality. Shadows were always portrayed in blacks and browns and lighting techniques such as chiaroscuro became synonymous with the period. Renaissance artists fully understood thematerials they used, but, unfortunately, such dedication and knowledge was not always maintained and in later years great works of art have been distorted as a result of pigments darkening or reacting with neighbouring colours. Painting was traditionally seen as a craft because of the time consuming work of grinding, mixing and preparing pigments until Leonardo challenged the notion expressing how artists were required to study anatomy and the sciences to paint accurately. Apprentices would often prepare pigments and canvasses and themasters would the add the finishing touches. Apothecaries and colour men would take over the preparation of colour,still hand grinding the pigments, although some colour men were moremeticulous than others in the preparation of colour. George Field, a well known colour chemist, was known for testing the qualities of colour
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COLOUR JOURNEYS (CONT) .
Red Many studies have focused on the influence of red. Studies suggest athletes performbetter wearing red clothes rather than blue, they are more competitive and even aggressive. This extends to the animal kingdomwhere some species of monkeys have red rumps to indicate enhanced testosterone levels. heat, anger, lust, love, blood
Bright vibrant reds such as X6184F and X6273S contain a lot of colourant, they are eye catching and energetic colours. Reds are often found in gyms and fast food establishments. They create a high impact and are often used as a feature rather than an overall decorative colour. In some instances reds used excessively can be overpowering.
Scarlet Ribbon ® W5083M
Brighter shades of red aremore contemporary than the darker counterparts and are well suited to grey shades acting as a backdrop colour. In large spaces red is combined with other colour popping shades tomake a statement and create a stimulating interior. Lighter versions of red can easily be classified as pinks and are seen to be completely separate colours, but there are also neutral hues that can fall within the red family such as X3630D Pocahontas , a lovely versatile colour that can be combined withmany other shades or used alone for understated simplicity.
Female waitresses receivemore tips wearing red clothes and women are viewed to bemore attractive wearing red lipstick than any other colour. Oxygenation of the blood shows skin to appear red when we are hot, angry or embarrassed. Red is therefore the colour of heat, lust, anger and blood. There have been various forms of red dye and pigments available through the ages; vermilion, red lead, carmine and red ochre. Red is the colour of celebrations, the infamous red carpet rolled out to pay homage to royalty and celebrities,
rich bed berries on a holly bush or a shining red valentines heart. All red colours add warmth into an interior and can helpmake a space feel warmer than it is. With subdued lighting reds can create an intimate and relaxing atmosphere. Dark reds are often found in historic collections: they are weighty strong colours. There are several dark reds that feature in the Crown Trade Historic collection, predominantly echoing the Regency 1800-1830, Gothic Revival 1830-40s and the Victorian Eclectic periods.
Rich dark reds symbolise tradition, celebrations and wealth. While there aremany colours dark reds work well with warmmushroom tones, whites, golds, navy or green based neutrals to create a harmonious scheme. Combining dark reds and bright whites should be approached with caution as sometimes the contrast can be jarring.
English Fire ® X7143W
X3630D Pocahontas
Y5430Z Powdered clay
X6273S Quick Kiss
X6184F
X7152K Regency 9
Y1123R
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COLOUR JOURNEYS (CONT) .
Pashmina ® X3640L
Pinks are often associated with flowers andmany textile designs popularise pink florals. In this context colours such as X3640L Pashmina offer a whimsical romantic touch, sweet and perfumed. Equally pinks such as U1830B Swan Lake can be paired with industrial materials to create contemporary balanced interiors. X5310X is a subdued variation of pink and creates a stunning design when walls and skirting boards are both painted in
this colour, ensuring clean simple lines. W5253W is a shade designed tomake a statement, it is a vivacious and a fun colour, often referred to as Barbie Pink . V7144H is a colour sometimes referred to as raspberry, it is a rich shade and contains blue andmagenta. This colour sits on the border between pink and purple, and while it contains a lot of colourant, it can be considered a restful and warming colour.
Pink In many European languages the term for pink translates into rose, however the English word pink has a different story. Pink was originally a term used for a frilled edge: scissors with zigzags are called pinking shears. Carnation flowers often pink in colour have a frilled edge, not unlike the effect created with pinking shears. Not until the seventeenth century did the term pink become synonymous with the colour. contemporary, fun feminine, romantic
Ballet Shoes ® Z0710H
While pink has been historically linked to the same connotations of red, possibly because some red dyes faded to pink, it is now regarded as a feminine colour and a favourite amongst girls. Baker Miller Pink is a mid toned pink, originally produced by mixing a small tin of red gloss with 5 litres of white paint. This combination was used to decorate a prison holding cell. During the 1970s, in America, US Navy Commanding officers Gene Baker
and Ron Miller wanted to reduce violence and hoped the colour could combat anti social behaviour. Reports highlighted that inmates were quickly calmed and were also physically weaker in a pink cell. The colour also termed drunk tank pink has been used in the UK to calm aggressive behaviour in the drunk and disorderly . Speculation still remains as to the actual benefits and prison cells are no longer adorned with the colour, but the name Baker Miller Pink is still widely known.
Creme de la Rose ® X0800G
Fairy Dust ® V1700Y
U1830B Swan Lake
X3640L Pashmina
X0410Y
X5310X
W5253W
V7144H
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COLOUR JOURNEYS (CONT) .
Orange The word orange comes from an ancient language in Southern India from a wordmeaning fragrant. Orange is seen to be the colour that symbolises health. Orange is a relatively new term in the English language: it wasn’t until the orange fruit was introduced fromEurope that there was a name for the colour. Previously gold was used for orange coloured objects and this is why we have gold fish and not orange fish. vitamin C, healthy, warming, fragrant
Dance Fever ® Z1363D
Powdered Clay ® Y5430Y
Buddhist monks wear orange robes because orange dye was widely available from the jack-fruit tree or the turmeric plant. Orange is linked to the Protestant faith and has many historical links to the Dutch. It is the colour of the nation’s football strip and in April they celebrate Koningsdag (Kings Day) dressed head to toe to pay tribute toWilliam 1, Prince of Orange.
There aremany variations of orange, in addition to the bright orange colour of the fruit, fromcoral, to clay, copper and burnt sienna. Orange symbolises health and vitality. It sits on the warmend of the spectrumand like red it is regarded as a warmcolour. Sweet orange essential oil is known for its uplifting properties and the same can be said for the colour. Many warming spices such as ginger and cinnamon are linked to the orange family.
Y6222R Toasted Spice is a cosy and reassuring colour. Themore subdued tones of orange such as Y5430Z Powdered Clay and Z0580L relate to earthy minerals and are often used to depict organic produce and symbolise unprocessed natural materials. The chalky variations of orange are relaxing and tend to appeal to adults rather than children.
Children aremore receptive to brighter colours such as Z3263X Harvest Crackle as desaturated colours do not get their full attention. Bright oranges such as Y3214U are high intensity colours andmake an impact when used. They are suited to large spaces as they can be seen at a distance or used in smaller quantities to add a splash of colour.
Y7710C
Z0580L
Y6222R Toasted Spice
Y3214U Botanical Extract
Z3263X Harvest Crackle
Y1101Q
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COLOUR JOURNEYS (CONT) .
Yellow Chinese history has a strong link with the colour yellow, it was one of the five elemental colours and yellow represented earth and life giving of the sun. Starting with the Tang Dynasty Chinese Emperors were said to have painted the roofs of their properties in yellow to denote royalty and only the Emperor could wear yellow clothing. sun, gold, blond, happiness
Mustard Jar ® B4542Q
The brightest andmost expensive yellow pigment came fromSaffron. However due to the fragile nature of the flowers (they can only be harvested before the sun has risen), alternative sources for yellow were used. Many were toxic, unstable when mixed with other pigments, or eventually faded. Indian Yellow was made using the urine of under nourished cows, only fed onmango leaves and had a distinct smell.
Gamboge has a laxative effect and workers processing the pigment at Winsor and Newton had to rush to the toilet every hour. Orpiment was highly poisonous as was Chrome Yellow, it contained high levels of poisonous lead. Van Gogh used the pigment to paint themasterpiece Sunflowers. Over time the yellow has now faded. Yellow is the colour of the sun: it represents light and heat and happiness. The colour yellow is plentiful in nature and it can be seen
in flowers, in fruit, (bananas, pineapples, lemons - all grown in a warmclimate hence a tropical link), and in insects and birds. Yellow is regarded as uplifting, it is often used in children’s classrooms or in areas of creativity.
Sunrise ® B6811V
Darker tones of yellow such as Neo Classical 4 and B9501J Neo Classical 5 can also be described as mustard or gold and feature in the Crown Trade Historic Palette. Brighter, lighter shades of yellow are gentle, fresh and look striking against a dark
grey or sludgy blue background when used as an accent colour. Many creams; Parsonage Cream B8770Q and C4850R come from the yellow family and are very popular paint colours because of their versatility.
B8770Q Parsonage Cream
B6582R
B3604L
B4402T
C0691F Buttercup
B1433R Golden Rapture
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COLOUR JOURNEYS (CONT) .
Green Green epitomises nature and conjures images of trees, grass and herbs. The word comes from the Anglo Saxon “growan” which means to grow. Today, green is used in tandemwith sustainability and environmental concerns. Going green is a term used to describe conscientious use of energy, recycling and conserving the planet’s natural resources. nature, food, healthy, sustainability, calm
Secret Escape ® H0264G
Band Stand ® F0550J
Carrie ® M5800N
WilliamShakespeare first coined the phrase ‘green eyed jealousy’ in The Merchant of Venice and the term ‘green with envy’ is still used today. The people’s hero Robin Hood is always depicted dressed in green as a result of Lincoln Green. In themiddle ages, Lincoln, known for it’s cloth industry created the green colour by dying fabric in blue woad ( a herb that is now known as indigo) and then in yellow weld. The colour Lincoln Green is still a popular paint colour today but, because of the increase of imported Indigo and synthetic dyes, the last
woadmill in Lincolnshire closed in 1932. Scheele’s Green was invented by a chemist in 1775 and the bright shade of green became so popular it was used in textiles, wallpaper, clothing and even confectionery. Unfortunately the process involved highly toxic copper arsenite and eventually symptoms of sickness, diarrhoea and even death led to the conclusion that the pigment should at all costs be avoided. A six inch square of wallpaper contained enough poison to kill at least two people.
Today, an awareness is growing around the holistic benefits nature has on health and well-being. Greens are seen as restful and harmonious. As a result many green paint colours are named after herbs and plants. Sage green, Bamboo Leaf and Spring Bud all create a reassuring picture of the outdoors. There are variations of green that range fromcitrus lime to aqua green, (the former has a higher content of yellow, the latter a higher content of blue). Yellow greens tend to be warmer and evoke associations of food, where punchier citrus tones are more playful. Blue green shades often evoke names inspired by the forest.
Darker greens can be reminiscent of evergreen trees (F3080R) and are seen as stable and constant. Chalky greens suggest tradition like E9341C Art Deco 13 and E8180U Steam Engine ; classic greens that are suited both indoors and outside. Paler shades of green are perceived as fresh and cooling, like H0490P Mint Frapp . Many herbs such as, peppermint and tea tree have anti inflammatory or anti septic properties and are prescribed to calmand soothe. The vibrant grass green F1304Q is an energising colour and a good example of how greens are not always calming.
Khaki Twist ® C0291S
SteamEngine ® E8180U
F0490P Mint Frapp?
F3080R
D1432D Arts & Crafts 4
F4403B Murray Mint
F1304Q
E8180U SteamEngine
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COLOUR JOURNEYS (CONT) .
Aqua
tropical, soothing, uplifting
Aqua is the result of mixing green and blue together. Aqua is the Latin term for water, and it was used in the early-modern period almost entirely as a label for medicinal preparation made either with water or with some formof alcohol.
The colour aquamarine is named after themineral, a gemstonemainly found in granite rocks. The first recorded use of aquamarine as a colour name was in England in 1598.
Aqua is neither warmnor cold. Nestled precisely between green and blue, this colour is optimistic, bright and strong; reminiscent of deep tropical oceans and bright summer skies. Shades of aqua evoke images of the outdoors: marine environments and mountain landscapes which reassure us and help with our sense of health and well-being.
Teal ® L8192N
Aqua has been long thought of as an emotional tone that triggers focus and clarity. Bright & saturated versions of aqua appear in coastal areas throughout the world, wherever the light is strong – fromGreek houses with their whitewashed walls and vivid green-blue woodwork to Caribbean villas with their painted weatherboarding.
In the UK, Aquas are popular colours and are often favouredmore by teenagers than younger children. There aremany variations of colours that fall in the aqua category from duck egg hues such as K7381E Velvet Smoke to brighter tones such as J2262U and K7204C Tropic Lagoon and the richer shades such as K8123E Airforce Blue.
Dance Hall ® L8251L
H0470T Velvet Leaf
K2690K AttinghamBlue
K7204C Tropic Lagoon
J0341L Sea Bright
J2262U
K8123E Airforce Blue
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COLOUR JOURNEYS (CONT) .
A deep blue with underlying red tones, Q3141S Hint of Shadow can make a room feel warm, as can P8182S Victorian Eclectic 13 which can sometimes be referred to as Mediterranean blue. “So we love to contemplate blue, not because it advances to us, but because it draws us after it.” Goethe (1810) Traditionally, blues are seen as cool colours but a carefully considered desaturated colour like M3271Z Blue Dolphin can be restful. Brighter blues such as Q3155U Star Sapphire are captivating.
There have been other blues but none that had the same vividness as Lapis Lazuli. Cobalt blue was toxic to mine and Indigo or Woad blue could not reach the same depths as the expensive Ultramarine. Eventually synthetic pigments were created and became easily available. Blues take the formof many shades and colours. Dark blues , as seen in N6091F Aftershow , are sophisticated, suggest depth and seriousness and are often used by corporate companies. Deep sludgy hues such as N7160P Holmes Grey and M7171T can add elegance into an interior without being overpowering.
Blue Most studies on colour tend to involve red and blue. Blue sits at the opposite end of the spectrum to red and where red is warming and energising blue is cool and calming. It is the colour of the sea and sky, both vast and open. While the colour blue is seen to have tranquil effects, blue light can be highly stimulating. sea, sky, openness, tranquil
Midnight Navy ® P5062M
Blue is the world’s favourite colour despite it’s long associations with depression, ‘feeling blue’ is a term used to describe sadness. Themusic genre ‘The Blues’ comes from former slaves in America singing lyrical stories of the woes of living in a harsh world. Stories of betrayal, unrequited love, brutal prisons, gambling. This music genre adopted a bluemotif and has been associated withmany great artists such as Miles Davies, Louis Armstrong and Nina Simone to name a few. Studies have found that company branding and logos in blue are seen to be themost honest and trustworthy.
Historically many western cultures did not pay special attention to the colour blue or even have a specific term for the colour but Ancient Egyptians thought the colour could dispel evil and encourage prosperity, so beads in blue were sought after. The Virgin Mary was originally portrayed wearing dark colours, it wasn’t until the 12th century that she began to be painted in blue. Ultramarine Blue was the pigment most likely to be used to portray the Virgin Mary and was so expensive that negotiations about howmuch was used often took place before painting began. In 1521, Albrecht Dürer one of the fewGermans artists to use
ultramarine, (the Italians were the biggest consumers), purchased some in Antwerp at one hundred times the
cost of some earth pigments. Ultramarine comes fromLapis Lazuli a mineral stone that was
Peek a Boo Blue ® N7273Z
Runaway ® N71Z1R
mined in Afghanistan. The journey to transport the stone fromhigh in the mountains involved a donkey or camel trek along The Silk Road trade route and a sea journey to Venice before distribution through Europe. In order to create the brilliant blue colour, themineral had to be finely ground to a powder,
impurities extracted and then mixed with linseed oil ; a lengthy and time consuming process.
M3271Z Blue Dolphin
P9660H
Q3155U Star Sapphire
L8500R 50s Sketchbook 12
L4471M Sail Away
N6091E Aftershow
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COLOUR JOURNEYS (CONT) .
When the Anonymous Society of Painters first exhibited work outside the established institution of the Salon de Paris, no one could predict themomentous influence the Impressionists (as they are now referred to) would have on the art world.
Impressionists sought to capture the atmosphere, amoment in nature and to explore the use of colour around objects. The new style was toomuch for some critics. Theodore Duret, a French Journalist and supporter of the artists summarised “In summer sunlight reflected by green foliage, skin and clothing take on a violet hue. The Impressionist painter paints people in violet forests, so the public loses all control. Critics shake their fists and call the painter a vulgar scoundrel.”
Purple Purple is a colour long associated with royalty or spirituality. Tyrian Purple, was the colour favoured by Julius Caesar, so much so, that he denied anyone else the privilege of wearing the colour. It required thousands and thousands of sea snails to produce a tiny amount of dye. royalty, spirituality, nobility, luxury, power
Sweet Dreams ® U5370Q
Scrumptious ® U8123V
The snails were farmed and to create the dye they were crushed to expose a gland which contained one drop of colourant, this was then fermented in urine for days before the cloth was added. The smell of urine and rotting shellfish ensured the vats were placed beyond the city walls of Tyre. Traditionally this purple dye was incredibly expensive and arduous to produce and only people of high nobility or extreme wealth could afford it or were allowed to wear it. In the third century AD a pound of purple-dyed wool cost around three times the yearly wage of a baker.
It wasn’t until a synthetic dye was created in the nineteenth century that themiddle classes could afford to wear purple, whenWilliamPerkins created a mauve dye by accident. He was trying to find a cure for malaria and instead invented a popular purple dye. Purple, aubergine, lavender and mauve are amix between red and blue, warmand cold. Dark purples create a moody atmosphere and work well combined with rich sumptuous textures. Lavender, like its namesake, is often used in holistic therapies for its sedative and relaxing benefits.
Addiction ® V0082L
R5710C MarbleWhite
T6162P
S0400G Heather Frost
R9630G Silver Dove
T3340X
Q9063B
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COLOUR JOURNEYS (CONT) .
Andrea Pallidio, the architect responsible for the Palladian style in the UK was heavily inspired by Ancient Greek architecture. It was originally believed that themarble buildings and stone structures were white, but technical procedures developed much later revealed that garish colours were originally used but over time had eroded away. There is a story of the sculptor Auguste Rodin once famously beating his chest: ‘I feel here that they were never coloured,’ he proclaimed passionately. The Impressionists started to question the heavily adorned Paris Salons which were painted in dark colours. Lighter palettes and looser brush strokes no longer suited the museum space. In the 1930s, the Museumof Modern Art MOMA in New York had white painted walls
and stripped back ornamentation to showcase fewer artworks in the space. This allowed focus to be concentrated on individual artworks. TheWhite Cube gallery became popular to exhibit abstract artworks. The term white cube was coined in 1976 by Brian O’Doherty. The use of white became synonymous withmodernity because it rejected traditional values. White walls styled withminimal colour or accessories, create an understated and tranquil ambience. A white interior offers uniformity and simplicity. White in an interior canmake a space feel larger, it reflects more light and opens up a space. White walls can also be used to showcase an array of colourful decorative elements to create an eclectic interior or or act as a backdrop for stronger colours.
White In Ancient Greece brides wore white wedding dresses and carried white flowers. The tradition for wearing white wedding dresses in the UK was not adopted until 1840 when Queen Victoria wore a dress of white handmade lace. It then became fashionable to do so and the tradition stuck. Today many brides wear white or shades of white. purity, spirituality, cleanliness, modernity
BeigeWhite ® B4810H
ChalkyWhite ® J8820B
White symbolises virginity and purity and it is for this reason in some cultures white is associated with death and the primary colour of mourning. In Chinamoney is given in white envelopes and white lilies are the traditional flower tomark a funeral while the deceased is dressed in white. White is also synonymous with spirituality; angels are often portrayed in white clothing. Whitewash was a cheap paint made fromheated and crushed limestone which was then combined with water and salt. It was used during the spread
of influenza and Typhus in Britain. The antibacterial properties became popular with dairy farmers and for a long time hospitals have been painted in white to represent cleanliness. Nowadays a white hospital can look institutional andmore colourful offerings are applied instead. White can be unforgiving in certain light conditions and can appear stark. A pure white is difficult tomake in paint, anything added to white is a step closer to black. The highly toxic lead white paint was used for centuries and became the cause
of serious health complaints. Lead white was used in women’s cosmetics to paint faces white, a high price to pay for vanity. Maria the Countess of Coventry was a particular fan of white foundation containing a lead white paste and died at the age of 27 as a result of lead poisoning. In 1992 European legislation banned the use of lead in almost all paints.
C3840E Sail White
D9850C White Glove
D7890B
P3830F ClayWhite
F7780C SeldomSeen
D1740B Pearl Drops
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COLOUR JOURNEYS (CONT) .
Smoked Oyster ® W9700B
Neutrals Neutrals refer to a broad spectrumof colours that contain little colour pigment, so they do have an undertone and can be either light or dark in shade.
understated, low intensity, versatile
Commonly associated neutral colours include greys, stones, khaki, creams, magnolia, taupe andmocha. Children do not respond to neutral shades such as beige and taupe and these descriptions don’t tend to be in their vocabulary until they are older. Neutrals are classic and timeless colours that can be used as a backdrop allowing statement colours in furniture and furnishings to shine. Neutral shades do not impose a personality and so can be useful for neutral spaces such as new builds, or rental properties. Magnolia is one such shade that perhaps has become over used in recent years.
For many years, it became the standard neutral colour for landlords and developers and unfortunately, the colour namemagnolia now appears to have negative associations. Magnolia is a colour named after the flowering plant of the genus Magnolia. As magnolias have flowers of more than one colour, mainly creamor pale purple, magnolia refers to different colours in different countries. In the UKmagnolia is a creamy colour defined by British Standard BS 08B15.
Baking Day A1610P
East Village ® A8540K
D9740J
G1720E Pine Frost
C3840E Sail White
Art Deco 6
J5390G
W9700B Smoked Oyster
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COLOUR JOURNEYS (CONT) .
Darker hues sit in the black category. Over the past decade, grey has anchored itself as the staple shade for interior walls. In fact grey is the perfect backdrop colour for more colourful items of furniture and furnishings.
This collection highlights our favourite greys ranging in lightness. White Feather and K9710C are equally light greys, B9710B is warmer, while K9710C is a cooler option. F5680B Silver Maple and D0450B aremid toned greys. L1120L Atlantic Grey (a blue based grey), E3380B Granite Dust and D5170C Sealpoint are all dark greys.
Grey Greys are versatile in an interior, they work with a multitude of hues and are regarded as low intensity colours. The increasing use of industrial materials such as concrete and stone have led to a rise in popularity of greys. Greys are quiet and unassuming in an interior. industrial, low intensity
Stoneware ® P7230L
Soft Grey Suede ®
Historically, during the Renaissance period, grey was used as a background colour to emphasise themetallic garments and the skin tones of the subjects being painted. People often ask for a true grey but many greys can often lean towards a particular colour family. We find the most neutral greys actually stem from the green family but the ones featured here contain such a small amount of colourant they remain very neutral.
Technically grey is themidway point between grey and black but many greys can often lean towards a particular colour family and as a result grey can create a warm scheme as easily as a cool one and it can convey edgy and contemporary as well classic & traditional. While all warmer tones of creams, browns and taupes remain in demand, the introduction of LED
lighting and cooler temperatures, greys which once would have once looked flat, now continuously feature in contemporary decor.
Granite Dust ® E3380B
B9710B White Feather
K9710C
D5170C Sealpoint
D0450B
F5680B Silver Maple
E3380B Granite Dust
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